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Tag Archives: luis bunuel

“The trumpets of the apocalypse have been sounding at our gates for years now, but we still stop up our ears. We do, however, have four new horsemen: overpopulation (the leader, the one waiving the flag), science, technology, and the media. All the other evils in the world are merely consequences of these. I’m not afraid to put the press in the front rank, either. The last screenplays I worked on, for a film I’ll never make, deal with a triple threat: science, terrorism, and the free press. The last, which is usually seen as a victory, a blessing, a ‘right,’ is perhaps the most pernicious of all, because it feeds on what the three other horsemen leave behind.’ – Luis Bunuel from My Last Sigh (page 251-252)

Below is a link compilation of recent writings on horror films that I’ve published on Nitehawk Cinema’s blog, Hatched (where I’m co-editor). Many of these texts correspond to the monthly VHS screenings I co-curate at Nitehawk. Click each title to read the essay in its entirety.

The Collective Monstrosity of The Texas Chainsaw MassacreThe Texas Chainsaw Massacre is one of a handful of films that punctuate the very life-blood of cinematic history. Intensely brutal with very little reprieve or consideration for the audience, Texas Chainsaw Massacre came out of a rift of a socio-cultural framework, bursting onscreen with the evisceration of the family structure, youth culture, and cultural fragility in a post-Vietnam United States…

VHS Vault: Tobe Hooper’s Eaten AliveEverything and everyone in Tobe Hooper’s Eaten Alive looks like it/they need a good, long, hard scrub. The dingy dwellings, saturated coloring, and hazy lighting make an atmosphere that mimics each character’s dirtiness (both inside and out) as well as their visceral insanity. No one here, aside from the little girl and poor pooch, is pure: sex, killing, stealing. Eaten Alive is where vice meets its crocodilian end…

VHS Vault: Flesh for Frankenstein Dr. Frankenstein and his monstrous creation (often miscalled “Frankenstein”) have seen many iterations of themselves since Mary Shelley first wrote her gothic novelFrankenstein in 1818. Morphing through mediums of literature, theater, film and then television series, commercials, cereals, etc., the “monster” has become the very essence of re-generation – from his “birth” to his cultural evolvement…

VHS Vault: The Exterminating AngelLuis Buñuel’s The Exterminating Angel reveals the slow and sudden unraveling of upper society as they experience an isolated apocalypse in their party hosts’ dining room. Like in other post-apocalyptic movie (zombie, nuclear, vampiric), the unwilling residents of this unknown disaster go through stages of discovery, collaboration, segregation, degradation, and death. Only here, there are no explanations and no reasonable revelations. Buñuel’s beautifully surreal depiction of the decline of bourgeoisie civilization remains unsolved, unknowable, and unexplainable…

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"Many people are blinded by fear of seeing something different, or of seeing anything differently, or by the inability to differentiate between what they know how to see and what they could see if they knew how." - Vincent Price

The Girl Who Knew Too Much is honored to be a recipient of a 2012 Creative Capital/Warhol Foundation Arts Writers Initiative Grant.